South London Concert Series

Review of Frances Wilson & Friends, South London Concert Series at Brunswick House, 22nd January 2015

by Lucy Butler Gillick

Brunswick House

The last time I visited LASSCO Brunswick House, my husband and I were looking at furniture for our house in Clapham. Back then it was the place to go for interesting bits and pieces at prices that wouldn’t break the bank. It still is. But in those days the area was very far from a prime location. In the 10 or more years since, I have occasionally looked across from a car or bus as I pass through Vauxhall Cross and noticed the isolated Georgian house, standing in defiantly Dickensian splendour, on an island surrounded by sleek riverside architecture and brutally thundering roads.

Without the encouragement of my dear friend Fran [Frances] Wilson – the energetic co-founder and Artistic Director of the South London Concert Series – I would probably never have bothered to park the car or get off the bus or tube to explore any further. But her invitation to come along to an evening of intimate piano music was far too appealing to refuse. And the venue is practically on my doorstep…

Now, apart from the occasional school event, endured for the sake of my children, or dinner at Fran’s where the piano would inevitably form part of the programme (and a welcome one at that), I have never really experienced such a concert. So it was as a complete outsider to this exclusive piano playing world that I arrived last Thursday evening and finally re-entered the pillared portals of LASSCO Brunswick House. To be frank, I was slightly fearful that my bottom would end the evening sore from a long and laborious sit, after having my eardrums assailed by music that could potentially mean nothing to me at all.

But what an appealing setting and pleasurable event it turned out to be. Downstairs is a cosy bar and lively restaurant, lit and furnished with scene-setting antiques that are – so far as I could tell from the tags – all for sale. For your starter you could order Mussels, Kale & Parsnip plus a Venetian chandelier; with perhaps Roast Lamb Leg and a sideboard to follow. Not bad going for the time-poor, multi-tasking city worker, en route home.

But it was upstairs that the salon vibe really took hold. The private concert room, the opulent Saloon with its belle epoque Bechstein grand piano, heavily swagged stained glass windows, old-fashioned school room-style chairs set in neat rows, lamps, lanterns, chandeliers and ephemera, was a genuinely atmospheric space. The very height of old-world decorous gentility, slap bang in the middle of one of London’s busiest junctions (better known for its gay clubs and pubs). Who’d have thought? It even smelt old-fashioned – a sort of pleasantly musty, sandalwood tang.

Once the concert kicked off, after a short introduction from Fran – dressed to the nines in a floor-length slinky red and mauve gown – the evening progressed apace. The concert included the ‘world premiere’ of a new piece by composer and guitarist Matthew Sear, as well as preludes, fugues, sonatas and impromptus from the likes of Debussy, Shostakovich, Menotti, Rachmaninoff, Scarlatti, Schubert and Satie – all favourite pieces of the artists performing that night. There was even a piece by the incongruously named Bryan Kelly (who sounds more like an Irish builder than an Australian composer to me), and a somewhat ‘difficult’ discordant work by Olivier Messiaen – apparently taken from ‘one of the greatest works for piano of the 20th century’ (the Vingt regards sur l’enfant Jésus) expertly played by Fran, who I think fancied challenging her audience into hearing something unusual at the end of the night.

The South London Concert series typically combines performances by talented amateur musicians with a special “guest spot” featuring professional and semi-professional players. On the evening I attended we enjoyed performances by José Luis Gutiérrez Sacristán, Petra Chong, Lorraine Womack-Banning, Rob Foster and of course our genial hostess Frances Wilson herself. They all looked and sounded amazing to my untutored ears and I would heartily recommend the South London Concert Series to anyone who fancies a very reasonably-priced introduction to the world of glorious piano music in an intimate setting, followed by an opportunity to meet and talk to musicians who are as passionate about their piano music as you probably are about your food, wine and chandeliers. What’s not to love about such civilisation? The only jarring note was re-entering the real world and wintry fug of Vauxhall Cross when it was finally time to head home…

Lucy Butler Gillick is ex-chief sub editor of The Sunday Telegraph Magazine and Harpers & Queen. She has written for many magazines and supplements over the years, on a variety of topics, but mostly on issues related to parenting. She now works in education.

The South London Concert Series returns to LASSCO Brunswick House on 21st May for a concert by Australian counter-tenor Glenn Kesby. Full details here

Last week, I gave a formal concert as part of the South London Concert Series (of which I am Artistic Director) at the wonderfully eccentric Brunswick House, in the ‘Embassy quarter’ of London’s Vauxhall. Part of the London Architectural Salvage and Supply Co (LASSCO), Brunswick House is a magnificent Georgian mansion just a stone’s throw from Vauxhall Station, the MI5 building and the glittering new apartments of the Nine Elms development. The house is home to an eclectic collection of antiques and salvaged curiosities, all of which are for sale, including the early twentieth-century Bechstein grand piano which graces the opulent first floor Saloon (price £6000). The venue provides a great backdrop to the kind of programmes I favour (an eclectic mix of music of different eras and styles) and also acts as a splendid talking point for the audience who can enjoy exploring the rooms beforehand. I was joined in the concert by four pianist friends, three of whom have careers outside of music for their “day jobs”. And this for me is where it gets interesting…..

All of us had clearly prepared very carefully for the concert: we’d had “practise performances” at home, for friends, and at our piano group, and I had already played the pieces I was performing at two public concerts in the weeks leading up to the Main Event. We had all tried the piano at Brunswick House in advance of the concert, and I spent a couple of hours there with the tuner a few days before the concert. On the day of the concert we arrived in good time, warmed up, chatted to one another, set up the video camera and checked the lighting over the piano, and then waited quietly for the concert to begin. No one betrayed any nerves, nor discussed how they might be feeling: we all knew that we had to deal with our anxiety in our own way. What was most evident to me was the sense of excitement and anticipation amongst my fellow performers (and I admit I was pretty excited too – the concert was a sell out and the audience mostly comprised friends and family which made for a very warm atmosphere). We all performed with confidence, poise, musical understanding, sensitivity and expression. Because we were playing music we liked and enjoyed, the experience was wholly pleasurable, and I think our affection for the pieces we had selected, and our friendship, shone through every note.

Anyone who thinks performing to a roomful of people is “easy” needs their head examined. Of course it may look easy – and one of the great skills of the performer is to present what appears to be an effortless, fluent and convincing performance. In order to reach this point, one will have put in many hours of lonely practising – note-learning, refining, adjusting and finessing the pieces. Each performance throws up interesting new things or highlights areas which need to be worked over again to be made more secure (this is why it is important to perform a programme several times). On top of this, one needs to know how to cope with the inevitable performance anxiety, to hone one’s stagecraft, select the right outfit for the occasion, practise wearing the concert frock and shoes (for women), try the piano at the venue, talk to the tuner, if applicable, find out where the green room/loos are, and generally do as much as possible to remain calm and focused in the final moments leading up to the performance.

On the day of the performance, whether it is a concert or a recital for an exam, festival or competition, I have a clear strategy which I always follows to ensure I arrive at the venue with a clear head and a rested body. Rushing around, over-practising or doing too much can leave one feeling drained and flustered, and this can heighten one’s anxiety. In all the excitement of the actual performance, it’s easy to forget that one expends a vast amount of energy, in particular brain energy: keeping body and mind rested in advance of the performance is crucial.

When I arrived at Brunswick House a couple of friends of mine were already at the bar and greeted me eagerly, admiring my dress and wishing me luck for the occasion. I didn’t want to linger to chat (keeping the head clear!) and I promised I would speak to them afterwards. In terms of final preparation, lately I have become interested in “mindfulness” and have been applying it to my performing. At a concert I gave in a very cold church on a less than perfect, but huge Petrof piano a few weeks ahead of the Brunswick House gig, I decided to employ some mindfulness techniques to play “in the moment” and not worry about what happened. I was pleased with the resulting performance and instead of dwelling on “what might have been”, I went to the piano to practise the next day with the thought “what can I do differently/better next time?”. Of course there were areas of my pieces which needed special attention, but there was nothing that caused me serious worry. And in any event, after the concert, there is nothing to be done, for we can’t go back and change what has already been.

As performers we are often our own worst enemy – and all my pianist friends, professional and amateur, are frightful perfectionists. We worry about our note-learning, our memorisation, our expression, musical understanding, how we communicate to the audience, and so much more – and of course we want to give a note-perfect and characterful performance on The Day. It is crucial that we are perfectionist in the practise room because this will enable us to do the correct, careful preparation for the performance. Looking at the video of the concert afterwards of course there are moments when one might wince a little and wish that you’d played this or that note or phrase differently. The audience, however, enjoys the music in a different way, and a well-rehearsed, fluent performance which is rich in expression and communication will engage an audience, no matter if there are a few slips or errors (in fact, audiences rarely notice the mistakes we fret so much about, and people who go to concerts to gloat about spotting errors in the performance are thankfully a rare breed).

The photographs my husband took of the event clearly demonstrate that we had a really wonderful evening: as one of my co-performers said afterwards “it was an unforgettable experience of music and friendship” – and the congratulations and bravos we received from the audience were a testament to how much everyone had enjoyed the occasion. This continued into the bar, some of us staying very late before venturing out into the freezing January night.

The day after a concert one often hits the ground with an unpleasant thump. As the adrenaline leaves the body, one experiences a distinct “low”. This is often compounded with a deep tiredness, of brain and body, and it may be hard to motivate oneself to do anything the day after a concert (in fact, I took two days “off” the piano and instead lolled around the house, glum and moody, much to the disgruntlement of the rest of my family!). In fact, the best remedy for this special kind of post-concert depression is to get back to the piano and get working again. In my case, I was excited to start practising again because I had new work I wanted to look at, and other pieces which needed to be brought back up to scratch for a private charity concert in which I am performing in the Spring. What remains of the Brunswick House concert are memories of a very special evening, of music played by friends, with friends and for friends, an important reminder that music was written to be shared. We have photographs too, and videos, as mementoes of the event, and I would like to thank my co-performers, and Rebecca who turned the pages for me, for their special and wonderful contribution to a magical evening.

Who or what were the most important influences on your musical life and career?

The late Jacob Lateiner (1928 to 2010) who was my teacher at Juilliard. He was an inspiration in more ways than one: as a pianist, a scholar, a collector, a gourmet, a connoisseur, and one smooth talker who could melt the heart of any woman (or so I imagine). Sometimes I wish everyone I know could have the chance of meeting Lateiner, who exerted such a big influence in my life and encouraged me to go down this rabbit-hole. Even now I still feel his presence; I step where he points.

What have been the greatest challenges of your career so far?

Finding my own voice. Not so much about public speaking, though I do tend to speak during concerts, but in the sense of crafting a repertoire that best expresses my personal expressive character. Appreciation is very different from performing; I may appreciate many different composers but performing them convincingly is a whole other matter.

Which particular works do you think you play best?

I have a deep affinity with the late romantics (the generations after Chopin/Schumann/Brahms) whose particular and eloquent way of writing for the piano transcends all language. They used the piano to express an endless spectrum of feelings, from unabashed romanticism to Parnassian intellectual probity, from Panglossian pessimism to spiritual elation.

How do you make your repertoire choices from season to season?

I take inspirations from every corner of daily life. I tend to string together works that create a coherent idea for a programme, from single-composer to country-themed selections; more often I try to balance public tastes with serious historical or cultural elements. Planning a successful programme is one of the hardest parts of the job, as it requires creativity and immense knowledge. A good programme sells like a basket of fat olives, while a poorly constructed programme feels like a tangled tale.

Do you have a favourite concert venue to perform in and why?

I love a more intimate setting. I love the stage, and I am very comfortable on stage, big or small, but when I am physically close to my listeners I tend to be more emotionally spontaneous.

What is your most memorable concert experience?

The most memorable experiences are always the best concerts and the worst venues. The best performances were those when I was completely “in the zone”. I was performing in France the poetic and impressionistic music of Louis Aubert, the pianist-composer contemporary of Ravel, when not even the most enticing French women audience (of which there were many) could have drugged me out of the “zone”. On the other hand I have had numerous concerts in less-than-desirable settings that I’ll always remember. Once I was performing in China on a piano with a rickety leg, and throughout the entire concert I was picturing different threatening scenarios and news headlines … “Pianist died during concert under a piano, literally”.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

At the student level, learn as wide a repertoire as possible, from William Byrd to the latest sounds, from the Balkans to Buenos Aires. The next step is to find a unique voice and performing style, and specialize in it. Whenever possible, travel.

What are you working on at the moment?

Identifying the composition of grapes in different vintages of Spanish cava and from different producers. Also trying to work out my latest commission of a double-breasted suit with a Parisian tailor.

Where would you like to be in 10 years’ time?

Alive, but not obsolete.

What is your idea of perfect happiness?

Being interviewed.

What is your most treasured possession?

The lust for life and for beauty.

What do you enjoy doing most?

Meeting a patiently analysed situation with all the resources of thought.

What is your present state of mind?

Aching streaks of melancholy.

Ernest So performs works by Rachmaninoff and Gliere at the 1901 Arts Club on Friday 12th December as part of the South London Concert Series. Further details and tickets here

Critics have hailed Ernest So as a performer who exerts a “phenomenon presence on stage” and who “evokes the romanticism and technical brilliance of a 19th century pianist”. Mr. So’s early manifestation as concert pianist brought prizes such as the Bes​t Performer A​ward in Singapore and later the Beethoven Trophy. His years at the Juilliard School were spent under the artistic influence and instruction of renowned Beethoven scholar Jacob Lateiner (1928 – 2010); other teachers include Solomon Mikowsky, the late Constance Keene, and Jonathan Feldman.

On a fine mid-September afternoon a group of adult pianists, piano fans and music lovers gathered at Craxton Studios for a recital and talk by acclaimed pianist, teacher and writer Graham Fitch.

Craxton Studios, a beautiful Arts & Crafts house in Hampstead, north London, has an important musical heritage and is therefore the perfect place for concerts and gatherings of musicians. Originally built by the artist George Hillyard Swinstead for his family and as his art studio, the house was bought by Harold Craxton and his wife Essie in 1945 after they and their family were bombed out of their home in St. John’s Wood during the Blitz. Professor Harold Craxton OBE was an eminent and much-loved pianist and teacher (he was a Professor at the Royal Academy of Music), and those of us of a certain age will know his name from ABRSM editions of Beethoven and Co, edited by him and Donald Francis Tovey. The house on Kidderpore Avenue became a meeting place for musicians to come together and the house became a focal point for the artistic and musical milieu of London. This tradition continues today, as the house is used not only for concerts but also rehearsals, auditions and as a film location.

When Harold Craxton died in 1971, a trust was established in his name to support young, extremely talented musicians embarking on a professional career.

I first visited Craxton Studios in December 2013 for a concert by pianist Sarah Beth Briggs. I was impressed by the warm atmosphere and particularly the special ambiance and decor of the venue. Concerts are held in the artist’s studio, a large airy room at the back of the house, adorned with paintings, which looks out over the garden. The piano, which was Harold Craxton’s own instrument, is an early 20th-century Blüthner. (There is another grand piano in the small rehearsal studio on the top floor of the house.) The Craxton family still manage the property and it continues as a lively hub for musical activities in London.

‘Notes&Notes’ with Graham Fitch was a new concert concept for the South London Concert Series. I have always found concerts in which the performer introduces the music most interesting, and I find audience members enjoy hearing anecdotes about the music or why particular pieces are important, and as such offer something more personal and interesting than a standard written programme.

Graham Fitch introducing his programme

Graham’s programme consisted of Bach’s Partita No. 1 in B-flat and the French Suite, No. 5 in G, both popular and accessible works, and Haydn’s Piano Sonata No. 50 in C, Hob. XVI/50, written while the composer was living in London. Graham introduced the music, explaining that Bach was drawing on a tradition of presenting a suite of stylised dances popular at the time (Allemande, Courante, Sarabande, Gigue etc). He also described his first encounters with this music and his studies with Andras Schiff, who has received high praise for his own intepretations of Bach, and who “gave” Graham the ornaments in the French Suite. Graham also explained that there is no “right way” to play Bach and that a romantic interpretation is as valid any other.

Graham combines a vibrant, colourful sound with an ability to highlight all the different strands of melody, voices and interior architecture in the music, together with subtle use of pedal, sensitive phrasing and restrained rubato. As his introduction to the Haydn Sonata, he explained that Haydn was working with John Broadwood, the London piano maker, and the Sonata shows the composer experimenting with the range of possibilities afforded by an English piano (as opposed to the Viennese instruments which Haydn had previously been used to). Graham’s performance sparkled with wit and humour, while the middle movement had a lovely arching melody, warm and supple.

Afternoon tea & scones

After the music came the tea party and guests gathered in the dining room to enjoy tea and scones (with clotted cream, of course) and the chance to meet Graham and talk to other pianists and piano fans. There were many friends amongst the audience and the house was full of conversation. Some people even went to try the piano, before the studio was cleared ready for an audition the following day. The general consensus was that this was a really lovely event, combining music, words and conviviality, and we hope to host a similar concert at Craxton Studios next year.

Who or what inspired you to take up the piano and make it your career?

I was destined to read modern languages at Oxbridge but my heart wasn’t really in it. The piano was an all-consuming passion by my mid teens, and I’m afraid once the blinkers went on I couldn’t see myself being happy doing anything else.

Who or what were the most important influences on your musical life and career?

Apart from my wonderful teachers Stephen Savage, Peter Wallfisch and Nina Svetlanova (each of whom gave me different parts of the puzzle), I was very influenced by András Schiff. Not only his playing (which blew me away the first time I heard it) but having the privilege of studying with him at Dartington in 1982 and then privately afterwards. Another profound influence was Leon Fleisher’s weekly piano class during my Peabody year, studying Chopin with Ann Schein and having some marvelous lessons with Julian Martin. Playing chamber music with some amazing string players and also playing the song repertoire have made me a more rounded musician than if I had just played solo.

What have been the greatest challenges of your career so far?

I think juggling the various elements of what I do – playing, teaching, writing, adjudicating and now in my role as a principal tutor on the Piano Teachers’ Course (EPTA) UK. There never seems to be enough time to practise!

Which particular works/composers do you think you play best?

I have played a wide variety of styles in my time, from the French and German baroque through to contemporary music. If push comes to shove I would have to say I identify most with the mainstream Classical and Romantic repertoire. I can’t imagine a world without Bach, Haydn, Mozart, Beethoven, Schubert, Schumann, Chopin – to name but a few.

What is your most memorable concert experience?

If you mean as a listener, it would have to be Schiff’s Goldbergs at Dartington in 1982. One of the most memorable of my own would probably be playing the same work in Perth, Australia in the late 90’s – in front of an audience of pianists.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

A love of music, an appreciation of how music is built and how to communicate this in your playing. Aspiring musicians need a heck of a lot of discipline if they are going to amount to anything, but so often they don’t really know how to work. Part of my mission seems to be helping them learn how to practise.

Your ‘Notes & Notes’ recital on 14th September includes works by J S Bach and Haydn. Tell us a little more about why you selected these particular composers and works?

I chose to play these particular works because I think Bach and Haydn go very well together. The B flat Partita and the G major French Suite are very often played, and I find I often teach them. The Haydn C major is such an inventive work – I just love the humour in it.

Why perform and talk about the music? How do you think this approach illuminates the music and composers for the audience?

There is a growing trend for performers to talk about music, and to engage with their audience on a more personal and intimate level. If the venue is small enough, it can be a great way of enhancing the listening by offering what are basically spoken programme notes – and maybe some personal observations and anecdotes.

Graham Fitch’s ‘Notes&Notes’ recital is on Sunday 14th September 2014 at 3pm at Craxton Studios, Hampstead, north London. After the concert, the audience is invited to join Graham for a cream tea and a chance to socialise with other music lovers. Further information and tickets here. This concert marks the launch of the 2014/15 season of the innovative and popular South London Concert Series.

Graham Fitch, now based in London, maintains an international career not only as a pianist, but also as a teacher, adjudicator and writer. He has been appointed to the piano staff at the Royal Welsh College of Music and Drama, and runs private teaching studios in South West London, and the West End of London.

A published author, Graham has written several articles on aspects of piano playing and musical style. He has also produced a generation of teachers through his influence as a teacher. He is a regular contributor to Pianist Magazine, and is the author of a very successful blog, http://practisingthepiano.com/

Who or what inspired you to take up the piano, and make it your career?

I cannot pin point where the inspiration came from, I guess I was just very passionate and still am about the piano.

Who or what were the most important influences on your musical life and career?

My first teacher, Edvin Alamshah, who was a former student of Arturo Michelangeli, was a huge influence in my younger days. But I think the greatest influences are the great composers, and great music.

What have been the greatest challenges of your career so far?

I like to think of the challenges more like journeys; however I think for most pianists the greatest challenges are communication. Once you have the ability to communicate with your audience you have overcome one of the greatest challenges.

Which performance/recordings are you most proud of?

I haven’t recorded a CD yet but I have made many videos for YouTube and radio broadcasts. I think my favourite performances/recordings have to be the Scriabin and Janáček piano works.

Which particular works do you think you play best?

It depends on how the coffee tastes in the morning! There is no work I think of in that way, each piece of music has a soul and its own personality which breathes like we do, and on many occasions I’ve been proven wrong with a work I thought I could play best. However, Janáček sits very closely to me and agrees with me.

How do you make your repertoire choices from season to season?

By reading lots and lots of music and seeing what speaks to me. I never listen to recordings to make these decisions.

Do you have a favourite concert venue to perform in and why?

I have to say the Sydney Conservatorium of Music Verbrugghen Hall. It has lots of memories and a huge acoustic which fits my personality on stage.

Favourite pieces to perform? Listen to?

I absolutely adore Haydn and all of his works, and I have so much fun with him while I perform.

Who are your favourite musicians?

Really don’t have favourites, just very open/honest interpretation from many musicians young and old.

What is your most memorable concert experience?

I think my most memorable was a recital where I performed lots of Galina Ustvolskaya’s chamber works. She was a student of Shostakovich.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

My friends and colleagues will laugh at this, but I always believe you must spend more time outside your practice room, meet people, go to concerts, classic or not, drink lots of whisky and take it easy. I am not saying you should never practice – it’s very important: however some people really lose the sight of how it really is in real life. Spending 8-9 hours in a practice room can get very lonely: how are you supposed to communicate with people on stage when you can’t do that in real life?

What are you working on at the moment?

I am working on the complete works of Janáček to perform and record in 2015.

Where would you like to be in 10 years’ time?

Where I am now, happy and healthy.

What is your idea of perfect happiness?

Where I don’t feel happy 24 hours of the day.

What is your most treasured possession?

My piano scores

What do you enjoy doing most?

Eating

What is your present state of mind?

Panic (about to start teaching)

Vatche Jambazian performs works by Shostakovich, Mozart and Ustvolskaya at the 1901 Arts Club on Friday 16th May as part of the South London Concert Series. This concert is now **sold out**. Details of future South London Concert Series events here

Vatche Jambazian recently completed his BMus at the Sydney Conservatorium of Music and is now based in London performing many recitals in the UK and abroad. He has been a prizewinner in many international piano competitions such as The Russian Music Piano Competition in San Jose and the Australian National Piano Award. He is a highly dedicated piano teacher who aims to bring enjoyment as well as discipline to the lessons.

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